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Poster: Monte B Cowboy Date: Aug 24, 2013 10:55am
Forum: GratefulDead Subject: Re: Garcia's Record Collection

Notice that Jerry's tape-trading material was from recordings without audiences, and live music with audiences. Me and my musician friends were doing the same things in 1973. We used to make cassette copies from old albums that collectors had, just like Jerry did. Many times I taped copies of newer albums. Using cassettes in my era was way more convenient than r-r taping was in earlier years. I was also taping my musician friends and their bands live at gigs. So - to clarify your point about Jerry's taping - people who were taping music back then were taping both albums (old and new) and live music.

At this point I'll mention the "road-trip" part[s]. Every band and taper had many road trips back then. Most, if not all of these individuals brought music with them, just like Jerry mentions. Why these interview parts never mentioned 8-track tape cartridges and tape players in cars is a mystery to me. I mentioned this before:
I was a Hippie kid when I taped the Grateful Dead in 1973

"The first experience I had listening to my music "on-demand" was when I played stacks of 45-rpm records. This was in the 1950s when I was a little kid. The continuous-loop 8-track tape cartridge came out in the 1960s. Then we had 8-track tape players in our cars, along with a car radio. This was a huge breakthrough. For the first time ever, you had your music "on-demand" in your car. In 1971, I purchased an 8-track recording system to make my own 8-track tapes. I wanted to play hippie music from my albums in my car. Then I made 8-track tapes for lots of my hippie friends. I was "hooked on taping" from the very first moment."
Taping the band and experimenting with tracks in advance saves them time and money later when the band goes into the studio to record an album. We did this in my apartment in Louisville in 1975:
Louise - by Leo Kottke - w/ Buddy Emmons on pedal steel

"Released on the American Heritage record label, the Kentucky Blue LP was never remastered or re-released. Before going to Nashville to record Louise with Buddy Emmons, rehearsal recording sessions for Louise were recorded in my apartment - the one I shared with Vince Gill - upstairs at the grannies' place, in Louisville. Vince Gill and Bill Millet produced these sessions.

I used my Nakamichi 2-track cassette deck and another cassette deck to bounce back and forth for overdubs and mix-downs. Mics were set up in my living room. The entire Bluegrass Alliance band played Kentucky Blue tape recording demo sessions. They had a good head-start when they went to Nashville to record in the studio."
Lastly, Bear and Alembic are never mentioned in this compilation. LiA did a great job putting this together. Thanks also to LiA for the heads-up on the Jerry Garcia Interview "The History of Rock 'N' Roll"
What about the Europe '72 tapes, GD's greatest tapes of all-time?

Bear brought Rick Turner and Ron Wickersham together to form Alembic. Ron builds his own tape deck for the Europe tour, and Alembic tapes it. Ron modified an Ampex tape deck to minimize the reel-flips. The recordings were mastered in 16-tracks, recorded on two-inch reels of tape. Warner Brothers had the Europe '72 recording contract.

Jerry was not just the ultimate musician's musician. Jerry was the ultimate taper's taper!

Dick Latvala shows off Europe '72 master reels taped by Alembic and stored in GD's vault
[check out the priceless label artwork on these reels showing SYF and Alembic logos!]

This post was modified by Monte B Cowboy on 2013-08-24 17:55:32